Presents, in graphic novel format, the story of Alissa Torres, whose husband was killed in the September 11 terrorist attack on the World Trade Center, and her legal and psychological battles over his death.

Amelia Cole―Lia for short―is one of the first women studying abroad at Oxford University in the 1920s. Finally free from her overbearing Brooklyn parents, she finds a welcome sense of independence in British college life. Lia quickly falls for Scarlett Daniels, an aspiring actress and hardheaded protester. Scarlett introduces her to an exciting gender-equality movement with high stakes. But when their secret love clashes with political uprising, their relationship is one of the casualties. Years later, Lia’s only memories of Scarlett are obscured by the glossy billboards she sees advertising the actress’s new films. But when a mysterious letter surfaces, she is immediately thrown back into their unsettled romance. Lia’s travels span oceans and continents in her search for Scarlett. Spread across time and place, their story is one of desire, adventure, and ultimately, devotion. Lia will stop at nothing to win Scarlett back, but she soon realizes that uncovering lost love might not be attainable after all.

“Unique and thorough, Warner’s handbook could turn any determined reader into a regular Malcolm Gladwell.” —Booklist For anyone aiming to improve their skill as a writer, a revolutionary new approach to establishing robust writing practices inside and outside the classroom, from the author of Why They Can’t Write After a decade of teaching writing using the same methods he’d experienced as a student many years before, writer, editor, and educator John Warner realized he could do better. Drawing on his classroom experience and the most persuasive research in contemporary composition studies, he devised an innovative new framework: a step-by-step method that moves the student through a series of writing problems, an organic, bottom-up writing process that exposes and acculturates them to the ways writers work in the world. The time is right for this new and groundbreaking approach. The most popular books on composition take a formalistic view, utilizing “templates” in order to mimic the sorts of rhetorical moves academics make. While this is a valuable element of a writing education, there is room for something that speaks more broadly. The Writer’s Practice invites students and novice writers into an intellectually engaging, active learning process that prepares them for a wider range of academic and real-world writing and allows them to become invested and engaged in their own work.

A practical and inspirational guide created for people living in the real world. Whether you're a seasoned writer or new to the page, The Writer's Block Myth holds the keys to get past stuck, complete your goals, feed your creative Soul, and help you experience lasting creative freedom.The voices and stories of other writers are woven throughout the book, plus short, easy exercises & tools to support your process. The Writer's Block Myth is a culmination of hundreds of hours of conversations and work with writers, artists, and creatives, as well as interview-conversations conducted with writers of all levels, interests, and experience.Put it on your desk, kitchen counter, or bedside table. Carry it in your bag. This is one to refer to often.

Learning from the Lived Experiences of Graduate Student Writers is a timely resource for understanding and resolving some of the issues graduate students face, particularly as higher education begins to pay more critical attention to graduate student success. Offering diverse approaches for assisting this demographic, the book bridges the gap between theory and practice through structured examination of graduate students’ narratives about their development as writers, as well as researched approaches for enabling these students to cultivate their craft. The first half of the book showcases the voices of graduate student writers themselves, who describe their experiences with graduate school literacy through various social issues like mentorship, access, writing in communities, and belonging in academic programs. Their narratives illuminate how systemic issues significantly affect graduate students from historically oppressed groups. The second half accompanies these stories with proposed solutions informed by empirical findings that provide evidence for new practices and programming for graduate student writers. Learning from the Lived Experiences of Graduate Student Writers values student experience as an integral part of designing approaches that promote epistemic justice. This text provides a fresh, comprehensive, and essential perspective on graduate writing and communication support that will be useful to administrators and faculty across a range of disciplines and institutional contexts. Contributors: Noro Andriamanalina, LaKela Atkinson, Daniel V. Bommarito, Elizabeth Brown, Rachael Cayley, Amanda E. Cuellar, Kirsten T. Edwards, Wonderful Faison, Amy Fenstermaker, Jennifer Friend, Beth Godbee, Hope Jackson, Karen Keaton Jackson, Haadi Jafarian, Alexandria Lockett, Shannon Madden, Kendra L. Mitchell, Michelle M. Paquette, Shelley Rodrigo, Julia Romberger, Lisa Russell-Pinson, Jennifer Salvo-Eaton, Richard Sévère, Cecilia D. Shelton, Pamela Strong Simmons, Jasmine Kar Tang, Anna K. Willow Treviño, Maurice Wilson, Anne Zanzucchi

George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times

You are invited to the rest of your life. Three women, from coast to coast and in between, open their mailboxes to the same intriguing invitation. Although leading entirely different lives, each has found herself at a similar, jarring crossroads. Right when these women thought they’d be comfortably settling into middle age, their carefully curated futures have turned out to be dead ends. The sender of the invitation is Willa Silvester, who is reeling from the untimely death of her beloved husband and the reality that she must say goodbye to the small mountain town they founded together. Yet as Willa mourns her losses, an impossible question keeps staring her in the face: So now what? Struggling to find the answer alone, fiercely independent Willa eventually calls a childhood friend who happens to be in her own world of hurt—and that’s where the idea sparks. They decide to host a weeklong interlude from life, and invite two other friends facing their own quandaries. Soon the four women converge at Willa’s Montana homestead, a place where they can learn from nature and one another as they contemplate their second acts together in the rugged wilderness of big sky country.

A woman who was adopted as a newborn recounts her experience of meeting her birth parents, describing how adoption affected her sense of identity, her efforts to learn about her late birth mother's personal life, and her discouragement with her birth father's unwillingness to invite her into his family.

It's 1855, but not as we know it. The schism between the One True French Catholic Church and the heretical Italian Catholic Church has stoked three centuries of conflict, imploding the dream of European ascendancy. Thousands flee the Spanish Inquisition for havens in Germany, France, Britain and the colonies of the New World. The face and character of London has been indelibly altered by generations of refugees. Tasked with keeping order and preserving the ecumenical vision of the Holy French Catholic Church in the face of throngs clamoring for traditional British values, the London police find themselves in an awkward position. And nobody is quite sure how to deal with the technological innovation of animates: mindless laborers crafted from the body parts of the dead. A murderous plot with far-reaching implications casts a city torn between renaissance and tyranny as the unwitting catalyst for unspeakable global calamity. The fate of this world lies, as it often does, in the hands of a motley and disparate crew brought together by inglorious serendipity. Ironworks and iron fists will take London, and the Old World with it, to the cutting edge of a treacherous new century.